Gear Reviews
Skjold Drakkar Catacomb 6 String Bass Review
Skjold Drakkar Catacomb 6 String Bass Review…
- 34” Scale length
- Obeche (African whitewood) chambered core
- Figured walnut top and back
- 1 piece quarter sawn bolt-on maple neck
- Pau Ferro fingerboard
- Evo Gold narrow fret wire
- Skjold integrated playing ramp
- Skjold/Armstrong dual coil pickups
- Skjold/East Uni-Pre preamp.
- Skjold/Hipshot proprietary bridge with graph tech string saddles
- Hisphot tuners
There is a particular kind of satisfaction that comes with playing a bass that is just plain exceptional. More often than not, if you look hard enough, you can find something about an instrument that could have been done better. Between my part-time job reviewing basses, and my own twisted obsession with seeking out the worlds most skilled bass luthiers, I’ve had the pleasure of playing some truly wonderful basses. Through all this, I’ve grown to deeply respect the rare and small group of bass luthiers who are able to consistently produce great instruments. By great I mean: instruments that are exceptionally well designed and thought out, perfectly constructed with the best materials, which nail their target tonal goal, and play almost better than imaginable. When Pete Skjold stopped by my house to deliver my new bass on his way to a local expo, he shared with me the 5-6 basses he had on hand for the show. I was stunned (not only by how my instrument turned out, but) by how incredible each and every bass was, in its own right. No matter the bass, it seemed like Pete just nailed what that instrument was born to do. Like a master sculptor who sees a slab of material and naturally understands how the medium wants to be worked, Pete seems to have a sixth sense about how the pieces fit together toward the desired outcome. Its no wonder he’s called “the wood whisperer”. His deep command of how to combine elements toward a desired end result is frighteningly sharp. Every one of his basses I picked up was better than the last! I remember looking at him after playing 4 or 5 different Skjolds and blurting out “So… you’re kind of a freak, eh?” I meant it in a good way!
Many people familiar with Skjold’s work will recognize his distinctive shapes. The clear vision of Pete’s design goals is evident in all of his models. Skjold recently unveiled some new models, several of which are revamps of his previous designs, having evolved naturally over the decades that Skjold has been building. The Drakkar model evolved from the Damian Erskine signature Whaleback, Pete’s flagship single cutaway bass. The Drakkar includes several aesthetic and functional tweaks, including a somewhat more rounded and streamlined appearance than the Whaleback. For my tastes, the visual refinements are spot on, and the result is an extremely pleasing looking and feeling instrument.
Besides the new Drakkar body shape, this instrument features Pete’s heavily chambered and extra thick body, appropriately designated as a “Catacomb” model. Pete wanted to design a semi-hollow bass that imparts desirable acoustic properties such as “air”, “depth” and “bloom” to the sound, but doesn’t lose the low mid punch and focus that can sometimes result from semi-hollow construction. This is a tough balancing act, as many builders will attest to, and the Catacomb truly does nail the best of both worlds. Having played a handful of high end semi-hollow/chambered instruments, this bass has the focus and authoritative push of a solid body instrument, but has an unmistakable bloom and depth to the notes that really add dimension to the sound. As Damian Erskine puts it: My Skjold Catacomb was an attempt by Pete and myself to develop a bass that was 100% even across it’s entire range, had a bit more ‘wood’ in the sound when necessary but also still gets growly and burpy with the best of them. I don’t know how he did it, but he nailed it. It’s the only 6 string I’ve ever loved the PASSIVE sound of. I bypassed the preamp in the bass and only play it passively because it just sounds perfect to me.”
Construction-wise, there is literally nothing on this bass that is out of place or could even remotely be considered a flaw. The neck is slim and buttery smooth, with nicely rounded edges and impeccably dressed frets, and the whole bass sports a satin finish that lets you feel the wood grain under your fingers. The gorgeous walnut top and back is slightly enhanced and glows with a rich warmth. The one-piece maple neck is rock solid and feels lovely under the fingers. The Pau Ferro fingerboard is a lovely specimen, and the fretwork is, literally, second to none.
I ordered this bass with Pete’s custom Kent Armstrong dual coil pickups, and the East/Skjold pre, which is based on the new John East Uni-Pre preamp. The firm warmth and solid low end of the pickups was very well complemented by the powerful and versatile preamp. In addition to active bass and treble boost, a semi parametric midrange stack, volume, blend and passive tone, the East preamp features some impressive controllability via settings in the control cavity. There, you can adjust the individual pickup volumes, the frequency for the treble knob, and the bass “window”. Two thumbwheels allow you to tailor the center frequency and width of the bass boost/cut. You can also select whether you want a flat tonal response, or the classic upper-midrange curve that many familiar with the popular East Retro/Deluxe will recognize. All of this is pure gold, if you ask me. No two basses are alike in their frequency response, not to mention that bassists have a wide range of preferences for how they like their onboard eq to work. The East offers the ability to customize your preamp to your tastes, your instruments’ inherent tone, or any other variable. Having owned a bass with this preamp in the past, I an enamored by the ability to tailor my onboard EQ so that it performs JUST how I like it to.
Two dual coil pickups are located under the pickup “ramp” that Skjold sets into the body. The integrated Skjold ramp is an elegant and highly functional solution for those who like playing ramps. Rather than two pickups with a slab of wood in between, the Skjold ramp offers a uniform playing surface with no edges or contours to navigate, and makes for a very satisfying experience for guys like me, who have adapted their technique to using ramps. Skjold offers ramps made from exotic woods (to match the top, for example), but I ordered the standard version, made from a cast resin, which is nicely textured, feels solid, and has the Skjold logo laser etched in a very classy and subtle way.
Gigging is of course the great litmus test for an instrument, and I always like to see how a bass will perform ‘when the rubber meets the road’. Any sonic weirdness or tonal imbalances usually become pretty obvious when stuck in a busy mix on a loud stage. The thing that immediately impressed me about the Drakkar (besides how shockingly even it was from top to bottom) was how big and authoritative it sounds. It speaks with a huge, deep voice that really commands the bandstand. Band mates were quick to say that the Skjold sounded decidedly more assertive and full than other basses I’ve played. The Drakkar’s sonic authority sound made it easier to ‘play the band’: keeping everyone on point, driving the rhythm, informing the melody, and generally shaping the direction of the music.
The Drakkar came strung with a medium gauge set of Skjold Hybrid strings, which employ a combination of steel inner wrap with nickel outer wrap, resulting in a taut, focused sound with fantastic clarity and fundamental. I requested the bass with low action, and what I got was what I like to call “stupid low”. I could barely play the darn thing, and it had zero fret buzz! (Who is this guy?) Raising the saddles a hair resulted in low action with fantastic playability and tone. In an effort to bring out the woody and complex midrange, I tried a set of Skjold light gauge flat wound strings as well as a set of GHS Pressurewounds. The Flats offered just that: woody complexity and strong fundamental (and were surprisingly articulate) but I couldn’t quite get used to the flatwound feel on this particular bass. The GHS were a great middle ground, with their compressed outer windings. These hit the mark nicely, taming the highs and upper mids, while offering wonderfully smooth tone and feel. I also experimented with a set of Skjold Tension Balanced strings, which brought out a lot more clarity and detail in the upper mids and high end. I loved how each set really brought out different aspects of the Drakkars complexity, but at the end of the day, went back to the trusty Skjold Hybrids as the best overall matchup. Go figure, Pete nailed it again.
I ordered this bass from Pete to use as my main instrument, as I play six string most of the time. I am the first to admit that I’m very picky about basses, especially six strings. It’s pretty tough to make a bass that excels in its entire frequency range, and that was one desire that Pete and I discussed at length. We had many conversations about tone, feel, and aesthetics, and when the bass arrived, I was blown away by how well the instrument exceeded my expectations (which were admittedly very high). Whatever I thought this bass was going to be, I was shocked by how well it suited me, and how precisely he nailed the various and hard to describe attributes I had in mind for this instrument.
Skjold’s customers are really the best testament to the quality of his work. If you ask a Skjold owner to tell you about their instrument, they invariably gush over how great the bass plays and sounds. In fact, I know of more than one connoisseur/collector of the world’s finest basses, who have said that even though they own a variety of killer instruments, their Skjolds are the ones they would grab, god forbid, in the event of a disaster. If that’s not a true endorsement, I don’t know what is.
Having played a wide handful of his basses, it’s abundantly obvious that Skjold ‘gets’ bass building on another level. He understands not only how wood sounds and behaves, but also how each ingredient in the recipe acts in relation to the whole ‘dish’. He knows how to not only craft a bass that is rock solid, reliable, and sensitive, but one that is specifically tailored to his customers requests. These days, it may not be that hard find a luthier to build you a custom instrument, but finding one with the intuitive knowledge and expertise to consistently produce flawless, perfectly balanced basses is still a very rare and special thing.
Find out more about Skjold Design Guitars by visiting website www.skjolddesign.com.
Disclaimer: This pedal was kindly provided by Donner Music for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Triple Threat… A compact burst of analog attitude with unexpected appeal for bass players.
Multi-effects pedals are not usually the first stop for bassists. Most of us build our rigs piece by piece, choosing pedals that preserve low end and offer precise control. The Donner Triple Threat Pedal, created in collaboration with Jack White’s Third Man Hardware, takes a very different approach. It keeps things simple: distortion, phaser, and echo, all in one compact unit, with no menus or deep editing, just knobs and footswitches.
At first glance, it feels like a guitar pedal through and through. But spend a little time with it on bass, and it starts to reveal a different kind of usefulness, less about precision, more about character.
Built around simplicity
The Triple Threat is all about immediacy. Each effect has its own dedicated controls and footswitch, making it easy to dial in sounds quickly without overthinking the process. There’s something refreshing about plugging in and getting straight to experimenting, especially for bass players who are used to more complex signal chains.
The compact enclosure makes it easy to fit onto almost any pedalboard or even use as a standalone unit for rehearsals and smaller gigs. That said, the small size does mean the knobs are quite tight and not the easiest to adjust mid-performance. It’s a minor compromise, but one that becomes noticeable on a dark stage.
Analog character
Rather than aiming for clean, studio-like tones, the Triple Threat leans into a more raw and expressive sound. This becomes particularly apparent in the distortion section. It delivers a gritty, garage-inspired voice that can add real personality to a bass line, especially in indie or lo-fi contexts.
On bass, the key is restraint. Lower gain settings bring out a nice edge without sacrificing too much low end, while higher settings can start to thin things out. Without a blend control, there’s no easy way to bring back the fundamentals once it’s gone, so it rewards a lighter touch.
The phaser is more immediately cooperative. With slower rates and moderate depth, it adds movement without overwhelming the core tone. It’s the kind of effect that works best when you don’t notice it right away, but feel it sitting underneath the groove.
The echo section stands out as the most naturally suited for bass. It’s warm, slightly dark repeats sit comfortably behind the dry signal, adding space without clutter. Whether used subtly or pushed into more ambient territory, it complements the instrument rather than competing with it.
Real-world perspective
The Triple Threat has also found its way onto the pedalboard of Dominic John Davis, bass player for Jack White, which gives some insight into how it functions in a professional setting.
Looking at his broader setup, typically including tools like the Boss TU-3 Chromatic Tuner, MXR M108 Ten Band Graphic EQ, and boutique pedals such as the Mantic Effects Vitriol and Mantic Effects Isaiah Delay, it becomes clear that the Triple Threat isn’t a centerpiece. Instead, it serves as a flexible addition, a way to access a few extra textures without expanding the pedalboard further.
That context is important. For bass players, this isn’t about replacing carefully chosen pedals, but about adding something a little different to the mix.
Versatility in practice
In practical use, the strength of the Triple Threat lies in how quickly it lets you shift between sounds. Having three effects available at your feet without needing multiple pedals can be surprisingly useful, especially in stripped-down setups.
It’s easy to imagine it being used in rehearsals, smaller gigs, or situations where portability matters. It also lends itself well to experimentation, encouraging players to step outside their usual tonal comfort zones.
At the same time, its limitations remain part of the experience. The distortion’s guitar-oriented voicing and the absence of a blend control mean it won’t satisfy players looking for a fully optimized bass overdrive. Instead, it offers something a bit less predictable, and that’s part of its charm.
The Donner Triple Threat Pedal isn’t trying to be a precision tool, and it doesn’t need to be. What it offers is a straightforward, character-driven set of effects that invite exploration.
For bass players willing to approach it on those terms, it can be a surprisingly inspiring addition. It won’t replace a dedicated pedalboard, but it can add texture, movement, and a bit of unpredictability in a way that feels immediate and fun.
For more information, visit online at donnermusic.com
Disclaimer: This pedal was kindly provided by Valeton for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Two Paths to the Same Goal: Better Workflow, Real Control
Valeton’s GP series has followed a clear and consistent trajectory. The GP-5 introduced the core sound engine in an ultra-compact, app-driven format, proving that solid tones could exist in a minimal footprint, but at the cost of hands-on control. The GP-50 took a major step forward by adding onboard editing and a second footswitch, making the platform far more usable without relying on external devices.
With the GP-150 and GP-180, Valeton shifts the focus again, this time toward how players actually interact with their sound while playing.
These aren’t about reinventing the tone engine. They’re about making it more accessible, more flexible, and ultimately more musical in real-world use.
It’s also worth noting that while these pedals build on workflow ideas introduced in smaller GP units like the GP-5 and GP-50, the GP-150 and GP-180 are more closely related to the GP-100 platform, positioned as more complete, floorboard-style solutions rather than compact multi FX.
The Big Picture
Both the GP-150 and GP-180 share the same core foundation:
- 200+ effects
- NAM (Neural Amp Modeler) support
- IR loading (up to 20 files)
- 12-module fully flexible signal chain
- Looper (180 seconds) and drum machine
- USB audio interface and Bluetooth connectivity
- Built-in rechargeable battery
So in terms of sound and raw capability, they’re very similar.
The real difference comes down to workflow and control.
GP-150: Compact Rig with Real Expression
The GP-150 is where the platform starts to feel like a proper, self-contained rig.
The standout feature here is the built-in expression pedal. That alone changes how you use the unit. Instead of just switching presets or toggling effects, you can actively shape your sound in real time… volume swells, wah, parameter control… it’s all immediately available.
Combined with dual footswitches and onboard editing, the GP-150 strikes a strong balance
between portability and control. It carries forward the independence introduced in the GP-50,
but expands it into something more expressive and complete.
It’s especially appealing for players who want a minimal setup that still feels dynamic and
responsive.
GP-180: Hands-On Control, Pedalboard Feel
The GP-180 takes a different approach. Instead of adding expression, it doubles down on direct
control.
The addition of a third footswitch already makes navigation more natural, but the real shift
comes from the dedicated effect block buttons.
Each block has its own button, which lights up when active and can be toggled instantly. That
means you can turn distortion, delay, modulation, or reverb on and off with a single press—no
menu diving, no reassignment needed.
In practice, this makes the GP-180 feel much closer to a traditional pedalboard. You’re not just
switching presets, you’re interacting directly with your signal chain, something that wasn’t really possible with the more minimal GP-5 or even the GP-50.
For live use, that immediacy makes a big difference.
Tone & Real-World Use
Both units share the same sound engine lineage, and overall quality remains strong.
There are more effects available compared to earlier models, and the addition of NAM support
opens the door to more realistic amp tones and modern workflows.
One of the most noticeable improvements, particularly for bass players, is the octave tracking. Lower octave sounds are significantly tighter and more usable than in earlier GP units like the GP-5, making them far more practical in a mix. Higher octaves still feel a bit clunky, but the improvement where it matters most is clear.
In terms of real-world use, both pedals are flexible enough to cover practice, recording via USB, direct-to-PA live setups, and compact fly rigs.
That said, they cater to slightly different players.
Which One Should You Choose?
Go for the GP-150 if:
- You want a compact, all-in-one unit
- Expression control is important to your playing
- You prefer a streamlined setup with minimal footprint
Go for the GP-180 if:
- You play live and need faster, more direct control
- You prefer a pedalboard-style workflow
- You want to toggle effects individually rather than relying on presets
The GP-150 and GP-180 aren’t competing pedals; they’re two different interpretations of the same idea.
The GP-150 focuses on expression and portability, giving you a compact rig that still feels
dynamic and interactive, something that builds directly on the usability improvements
introduced after the GP-5.
The GP-180 focuses on control and immediacy, turning the GP platform into something that
feels much closer to a traditional pedalboard.
Both share the same solid tonal foundation, but they approach usability in different ways.
And that’s really what this generation of the GP series is about, not just sounding good, but
feeling right under your hands and feet.
Visit online at valeton.net/
Disclaimer: This bass strap was kindly provided by Italia Leather Straps for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
I’ve spent years searching for the perfect wide bass strap, something that delivers both comfort and durability without compromising on style. That search ended nearly two decades ago when I discovered Italia Leather Straps.
Handcrafted in the USA from premium Italian leather, Italia Straps offers an impressive range of straps for both bass and guitar players. What immediately stood out to me was the exceptional craftsmanship; every detail, from stitching to material selection, reflects a commitment to quality. These aren’t just accessories… they’re long-term investments for serious musicians.
After more than 19 years of consistent use with my original strap, I can confidently speak to its longevity and comfort. Even under the demands of extended performances, the support provided by a 4” wide strap makes a noticeable difference.
In this review, I’m taking a closer look at the 4” Elite Series Leather Backed Bass Strap, now available in a sleek new Slate Black finish. It’s a refined addition to an already outstanding lineup, combining aesthetic appeal with the same trusted performance.
For more information, visit www.italiastraps.com.
Disclaimer: This pedal was kindly provided by Empress Effects for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
ParaEQ… Precision tone shaping in a pedalboard-friendly format.
EQ pedals are often the unsung heroes of a bass rig. While overdrives and compressors tend to get most of the attention, a good EQ can completely transform how a bass sits in a mix. The Empress Effects Bass ParaEQ takes that idea much further, offering studio-style tone shaping in a rugged pedal designed specifically for bass players.
Based on the company’s well-known ParaEQ MKII Deluxe, the Bass ParaEQ adapts the concept for low-frequency instruments, delivering a powerful and flexible tool for dialing in everything from subtle tonal tweaks to major corrective EQ.
Built for bass
At its core, the Bass ParaEQ is a three-band parametric equalizer, meaning each band allows you to select the frequency you want to adjust, how much you want to boost or cut it, and how wide the adjustment should be. For bass players, this level of control can make a huge difference when trying to solve real-world tone problems.
In addition to the three parametric bands, the pedal includes a low-shelf and high-shelf EQ, along with high-pass and low-pass filters. Together, these controls allow you to shape everything from deep sub-bass to the upper harmonics of the instrument.
The controls are laid out clearly on the pedal, and while there are quite a few knobs, the layout remains intuitive once you spend a little time with it. Each parametric band offers frequency selection, boost or cut of up to ±15 dB, and a Q control that adjusts the bandwidth of the EQ band.
Another thoughtful feature is the selectable input impedance. The standard 1M? input works perfectly with most electric basses, while a 10M? high-impedance mode is available for instruments with piezo pickups, making the pedal particularly useful for upright bass players.
Massive headroom and clean performance
One of the technical highlights of the Bass ParaEQ is its 27-volt internal operation. Although the pedal runs on a standard 9-volt power supply, the internal circuitry steps that voltage up to 27 volts, providing enormous headroom. In practical terms, this means the pedal remains exceptionally clean even when applying large EQ boosts.
This extra headroom is especially noticeable when boosting low frequencies, where many EQ pedals can start to sound strained or compressed. The Bass ParaEQ handles these boosts effortlessly, maintaining clarity and punch across the entire frequency range.
The pedal also includes a foot-switchable boost capable of delivering up to 30 dB of clean level increase. This feature turns the ParaEQ into more than just a tone-shaping tool. It can also function as a volume boost for solos, a way to match output levels between instruments, or even a clean gain stage to push an amplifier slightly harder.
Real-world performance
In real-world playing situations, the Bass ParaEQ quickly proves its value. One of its biggest strengths is how easily it can adapt to different instruments and environments.
For example, during a recent gig, I used the pedal while switching between an active Jazz bass and a passive bass with flatwound strings. The active bass had a fairly aggressive top end that tended to jump out in the mix. With the ParaEQ, it was easy to smooth that out by slightly trimming the upper mids and rolling off some of the extreme highs.
The passive bass, on the other hand, benefited from a small boost in the presence range, helping it cut through the band without losing its warm character. Instead of constantly adjusting the amp between songs, the ParaEQ handled those changes instantly.
The pedal is equally useful for addressing common live sound issues. A quick adjustment can tighten up muddy low mids, add clarity to a dull stage tone, or remove problematic resonances that appear in certain venues.
Versatility for stage and studio
While the Bass ParaEQ is incredibly useful in live settings, it also shines in the studio. Engineers frequently use parametric EQ to shape bass tones during mixing, and having this level of control directly on the pedalboard allows players to dial in a more refined sound before the signal even reaches the recording chain.
The combination of parametric bands, shelving filters, and high-pass and low-pass filters makes the pedal capable of handling a wide range of tonal adjustments. Whether the goal is tightening the low end, adding articulation, or smoothing out harsh frequencies, the ParaEQ delivers precise results without altering the natural character of the instrument.
Final thoughts
The Empress Effects Bass ParaEQ is not your typical EQ pedal. With its parametric controls, extensive filtering options, and massive internal headroom, it offers a level of precision more commonly found in studio equipment than on a pedalboard.
For bassists who want deeper control over their tone—or simply a reliable way to handle the tonal challenges of different rooms, instruments, and mixes—the Bass ParaEQ is an incredibly powerful tool. It may require a little more understanding than a simple three-band EQ, but the payoff in flexibility and sound quality makes it one of the most capable EQ pedals available today.
Visit online at empresseffects.com/
Valeton GP-50… Compact Power with Real-World Control
Disclaimer: This pedal was kindly provided by Valeton for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Valeton continues to refine its compact multi-effects platform, and the GP-50 represents a significant step forward from the GP-5. Rather than chasing extreme miniaturization, Valeton focused on improving control, connectivity, and independence, areas that matter most to working musicians. The result is a compact processor that feels genuinely usable in rehearsal, studio, and live environments.
At its core, the GP-50 builds on the same modeling engine that made the GP-5 appealing, but expands it in meaningful ways that greatly improve workflow and performance flexibility.
Design & Build
The GP-50 is housed in a rugged metal chassis and remains lightweight and travel-friendly despite its added functionality. One of its most practical features is the internal rechargeable battery, which allows for cable-free practice, fly gigs, and mobile setups without sacrificing reliability.
This is a pedal clearly designed with modern bassists in mind—portable, durable, and adaptable.
Control & Editing
One of the GP-50’s most important upgrades is onboard editing. Unlike the GP-5, which relied entirely on a companion app for sound creation, the GP-50 allows players to edit amp models, effects, and signal chains directly from the pedal. This makes it far more practical in live and rehearsal situations where quick adjustments are essential.
The Valeton app is still available and useful for deeper patch organization, but it is no longer required for day-to-day operation.
Dual Footswitch Advantage
The addition of a second footswitch dramatically improves usability. Preset changes, effect toggling, and tap tempo can all be handled directly from the unit, eliminating the need for an external MIDI controller in many scenarios.
For bassists who want a compact rig that can handle real performance demands, this change alone makes the GP-50 far more viable on stage.
Sound Quality
The GP-50 delivers solid amp modeling, responsive dynamics, and a wide selection of usable effects. Drives retain low-end integrity, modulation effects are clean and musical, and delays and reverbs are well-suited for both subtle enhancement and more ambient textures.
IR loading further expands tonal flexibility, making the GP-50 suitable for direct-to-PA setups, recording, and silent practice. With quality IRs, the unit produces polished, professional results well beyond what its size might suggest.
Connectivity & Features
Expanded input and output options make the GP-50 easy to integrate into a variety of bass rigs, whether running into an amp, FRFR system, or audio interface. USB audio functionality allows it to double as a recording interface, adding further value for home studios and content creation.
Additional tools such as the onboard tuner and rechargeable battery round out a feature set that feels thoughtfully designed rather than excessive.
Final Thoughts
The Valeton GP-50 is a clear evolution of the GP-5, addressing its limitations while preserving its strengths. With onboard editing, dual footswitch control, expanded I/O, and battery power, it moves beyond “compact practice pedal” territory and into legitimate all-in-one rig status.
For bassists seeking a portable, affordable, and capable multi-effects solution that doesn’t compromise on control or tone, the GP-50 stands out as one of the most practical options currently available in its class.
The Valeton GP-50 is available online at Amazon.com
Gear News: Fender Unveils Highly Anticipated Vintera III Series
New Music: Oteil Burbridge & Lamar Williams Jr. New Single, Hush
Interview With Bassist Virginia Franks
Nathan East, Echoes of a Lineage – April/May 2026 Issue
Gear Review: Italia Leather Straps
Feb 16 Edition – This Week’s Top 10 Basses on Instagram
Feb 23 Edition – This Week’s Top 10 Basses on Instagram
Mar 2 Edition – This Week’s Top 10 Basses on Instagram
Mar 9 Edition – This Week’s Top 10 Basses on Instagram